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Focusing on the art of self-portraiture, this effortlessly engaging exploration of the lives of artists sheds fascinating light on some of the most extraordinary portraits in art history. Self-portraits catch your eye. They seem to do it deliberately. Walk into any art gallery and they draw attention to themselves. Come across them in the world's museums and you get a strange shock of recognition, rather like glimpsing your own reflection. For in picturing themselves artists reveal something far deeper than their own physical looks: the truth about how they hope to be viewed by the world, and how they wish to see themselves. In this beautifully written and lavishly illustrated book, Laura Cumming, art critic of the Observer, investigates the drama of the self-portrait, from Durer, Rembrandt and Velazquez to Munch, Picasso, Warhol and the present day. She considers how and why self-portraits look as they do and what they reveal about the artist's innermost sense of self -- as well as the curious ways in which they may imitate our behaviour in real life. Drawing on art, literature, history, philosophy and biography to examine the creative process in an entirely fresh way, Cumming offers a riveting insight into the intimate truths and elaborate fictions of self-portraiture and the lives of those who practise it. A work of remarkable depth, scope and power, this is a book for anyone who has ever wondered about the strange dichotomy between the innermost self and the self we choose to present for posterity -- our face to the world.
- Sales Rank: #365982 in Books
- Published on: 2010-09-02
- Original language: English
- Number of items: 1
- Dimensions: 9.69" h x 1.10" w x 7.44" l, 2.65 pounds
- Binding: Paperback
- 320 pages
Review
'Deserves a place of honour on every art lover's shelf!Tenderly, creatively written, jargon- and waffle-free, the book wears deep learning with an unaffected grace but touches!on truths beyond the protocols of art criticism.' Boyd Tonkin, Independent 'Intelligent, humorous, swinging freely between erudition and colloquialism. I immediately found myself at home in this book, feeling as though I'd been reading and thinking about this subject all my life.' Jonathan Coe 'Positively fizzes with ideas; just about every single paragraph contains a fresh observation' Nick Hornby, Observer, Books of the Year 'A literary as well as an artistic triumph' David Cox, Evening Standard, Books of the Year 'Laura Cumming combines great clarity of style with a wide range of taste. All aspiring critics of any art form should take a look at how much she can say in a short space.' Clive James 'A beautiful and intriguing book!though Cumming's book is stacked with visual masterpieces, it is her writing that most claims admiration. She notices every detail in a painting, the way a carpet folds, the varying textures in a dog's fur, and registers them with a poet's precision!she relies on keen observation, linguistic power and lots of knowledge. It adds up to the most enjoyable art book I have read for years' John Carey, Sunday Times
About the Author
Laura Cumming is art critic for the Observer. Previously, she was Arts Editor for the New Statesman and Arts Producer for the BBC.
Most helpful customer reviews
0 of 0 people found the following review helpful.
This is a wonderful book. It is well written and very informative
By jk
This is a wonderful book. It is well written and very informative, providing an interesting perspective on the subject. There are many illustrations, often large and in color. A number of reviewers have commented that some of the paintings the author discusses are not in the text. This is in fact true but I was able to find all of them on the internet without any dificulty
7 of 8 people found the following review helpful.
excellent, well organized book where the words are as important as the pictures
By will's mom
this book is mentioned in Nick Hornby's "More baths, less talking" really, how would we find it otherwise? but that would be a loss, this is a book that is worth every minute that you devote to it.
22 of 22 people found the following review helpful.
Five stars for the text, two at most for the illustrations
By Ralph Blumenau
I have always been fascinated by self-portraits, and so was delighted by the appearance of this book. Laura Cumming is a minute observer: her descriptions of the paintings have alerted me to many details of paintings of which I had previously been unaware. How many viewers of Van Eyck's Van der Paele Madonna, for example, would have noticed the portrait of (presumably) the artist in the tiny reflection on the armour of the attendant St George? The book has a detail of this passage in the painting, but the matt illustration is so muddy that it is completely useless and I had to go to Google Images to find a more readable version of it.
The illustrations are the weak part of the book, and some are really poor, for you cannot see many of the details to which the author refers: the glove which Sofonisba Anguissola is carrying or the important key tucked into the belt of Velasquez in Las Meninas; nor can you make out the cat and the dog at the bottom of Gumpp's self-portrait. In the reproduction of Carracci's, you can just about make out the dog, but not `the spectral cat'. The illustration of Kahlo's `The Wounded Deer' is cropped so that the word `Carma', referred to in the text, is lost. Also, increasingly so as the book proceeds, Cumming discusses a number of self-portraits by lesser-known artists, which are not illustrated at all (and are not available on Google Images either); and there are some paintings which she describes without giving their titles, so those cannot be looked up on Google anyway. That's all more than a little frustrating.
But the text is immensely rewarding. We learn such fascinating details as that the flowers in the mirror of Seurat's `La Poudreuse' were painted over what was originally a self-portrait, and Cumming's reflections on this are charming. Many fine essays have been written on Rembrandt's self-portraits, and, unavoidable as it is in a such a book, it cannot have been easy to produce another one; but she rises creditably to that challenge also. About the other great serial self-portraitist, Van Gogh, she argues eloquently that the pity they evoke is purely ours, and that there is no self-pity in the pictures themselves or in Van Gogh's mind.
There are fine passages about how artists have portrayed their hands, and about the transition from the painters' busy workshops to their cell-like studios, as part of the story of Romanticism. Cumming's analysis of Philip Guston's `Studio' is a real tour de force; and there is a lovely analysis of a triple self-portrait by Norman Rockwell. The penultimate chapter, entitled `Falling Apart', shows how photography especially (but inspiring the work of painters also) can show the multiple aspects and/or masquerades of an artist's Self, or indeed convey the sheer elusiveness of what we mean by the Self: a very post-modern theme.
These are just a few of the many felicitous passages in Cumming's text. You may not in every case agree with her reactions and interpretations, but they are always worth thinking about; and what is irrefutable is the acuity of her perceptions, the range of her knowledge, the philosophical dimension of her thoughts, and her intense engagement with her subject.
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